These essays on abstract painting by eleven of its most incisive critics trace the development of such critical issues as hard-edge painting, deductive and serial structure, monochrome abstraction, the psychological analogy, regionalism, and the "death of painting" in Postmodernism. The introduction and commentary by Frances Colpitt situates the essays historically and examines their philosophical sources and influences, from formalism and phenomenology to structuralism and poststructuralism. What emerges is a coherent and optimistic picture of abstract painting--the definitive contribution...
These essays on abstract painting by eleven of its most incisive critics trace the development of such critical issues as hard-edge painting, deductiv...
The Culture and Commerce of the Short Story is a cultural and historical account of the birth and development of the American short story from the time of Poe.
The Culture and Commerce of the Short Story is a cultural and historical account of the birth and development of the American short story from the tim...
Signifying Art: Essays on Art after 1960 considers the work of a generation of "respondants" to the New York School, including Robert Rauschenberg, Jasper Johns and Cy Twombly, who reintroduced pictorialism and verbal content in their paintings and assemblages. Their work, Marjorie Welish argues, often alludes to the history of art and culture. Also examined are the works of Minimal and Conceptual artists, particularly Donald Judd and Sol LeWitt, who sought to make objective and theoretical artifacts in response to the subjectivity that Abstract Expressionism had promoted. By interpreting the...
Signifying Art: Essays on Art after 1960 considers the work of a generation of "respondants" to the New York School, including Robert Rauschenberg, Ja...
Surrealist Art and Writing, 1919-1939 offers a fresh analysis of Surrealism--of the artists Dali, Ernst, Masson and Tanguy and the writing of Surrealism's leaders--Andre Breton, Aragon and Eluard. Spector uses a multidisciplinary approach to examine how the ideas and images of this avant-garde movement grew up in anipathy to middle class values. He situates the concrete products of Surrealist art and writing in their historical context without losing sight of larger theoretical and ideological issues involving psychoanalysis, Marxism and philosophy.
Surrealist Art and Writing, 1919-1939 offers a fresh analysis of Surrealism--of the artists Dali, Ernst, Masson and Tanguy and the writing of Surreali...
Matthew Baigell examines the work of Edward Hopper, Ben Shahn, Frank Stella, and other artists, relating their art works to the social contexts in which they were created. Identifying important and recurring themes in this body of art, such as the persistence of Emersonian values, the search for national and regional identity, and aspects of alienation, he also explores the personal and religious identities of artists as revealed in their works. Collectively, Baigell's work demonstrates the importance of America as the defining element in American art.
Matthew Baigell examines the work of Edward Hopper, Ben Shahn, Frank Stella, and other artists, relating their art works to the social contexts in whi...
In Risk, Reliability, Uncertainty and Robustness of Water Resources Systems, thirty-five leading scientists provide state-of-the-art reviews of topical areas of research on water resources systems, including aspects of extreme hydrological events: floods and droughts, water quantity and quality, dams, reservoirs and hydraulic structures, evaluating sustainability and climate change impacts. As well as discussing essential challenges and research directions, the book will assist in applying theoretical methods to the solution of practical problems in water resources.
In Risk, Reliability, Uncertainty and Robustness of Water Resources Systems, thirty-five leading scientists provide state-of-the-art reviews of topica...
Tsion Avital poses the question: "Is modern art--art at all?" He argues that the nonrepresentational art produced in the twentieth century was not actually art, but rather the debris of the visual tradition it replaced. Modern art has thrived on the state of total confusion existing between art and pseudo-art and the inability of many to distinguish between them. As Avital demonstrates, modern art has served as a critical intermediate stage between art of the past and the future.
Tsion Avital poses the question: "Is modern art--art at all?" He argues that the nonrepresentational art produced in the twentieth century was not act...
This volume comprises a social history of Robert Smithson's earthworks and their critical reception. In his analysis of the artist's personal writings and art works, Ron Graziani demonstrates how the earthworks were part of an aesthetic and civic fault line that ruptured in the 1960s. Moreover, Graziani reveals how Smithson's earthworks formed part of the "new conservationism" in the late 1960s and how it gave material form to the contradictions of a sociological issue, inseparable from its economic legacy.
This volume comprises a social history of Robert Smithson's earthworks and their critical reception. In his analysis of the artist's personal writings...
Painted in 1878, Cezanne's The Eternal Feminine, has been known by a variety of titles and, as Wayne Andersen discovered, has also been altered. Andersen traced these alterations to an art dealer who made them in an effort to render the painting more marketable. His study focuses on the significance of the original state of The Eternal Feminine in an effort to resolve its mysterious importance to Cezanne and, more broadly, the history of art.
Painted in 1878, Cezanne's The Eternal Feminine, has been known by a variety of titles and, as Wayne Andersen discovered, has also been altered. Ander...
Tsion Avital poses the question: "Is modern art--art at all?" He argues that the nonrepresentational art produced in the twentieth century was not actually art, but rather the debris of the visual tradition it replaced. Modern art has thrived on the state of total confusion existing between art and pseudo-art and the inability of many to distinguish between them. As Avital demonstrates, modern art has served as a critical intermediate stage between art of the past and the future.
Tsion Avital poses the question: "Is modern art--art at all?" He argues that the nonrepresentational art produced in the twentieth century was not act...
